Recently in Performances
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
09 May 2011
Houston makes sense — and music — of Ariadne
Ariadne auf Naxos, the next major endeavor of the Richard Strauss/Hugo von Hofmannsthal collaboration after Der Rosenkavalier in 1911, has been a special challenge for American opera companies.
Much in the work depends on the wit of the Prologue, in which the richest man in Vienna demands that the evening’s performance in his home merge the planned comedy and tragedy in a staging to last not more than one hour. It would otherwise interfere with the fireworks — the heart of the evening, one gathers — that is to follow.
In the age before titles, the Prologue was sometimes performed in English; the opera in the intended German. Titles now bring home the egotism of singers who fight about dressing rooms and the frustrations of the idealistic young composer who sees his work devastated by the striking of a single note. More important, however, is the foreshadowing of the opera in the intense love that the composer comes to feel for coquettish commedia dell’arte Zebinetta, who in her fickleness seems everything that he and Ariadne are not.
Scored for a mere 35 instruments, Ariadne is — despite Wagnerian vocal demands — a chamber work that echoes the Baroque once dominant in Strauss’ native Bavaria. And it was Patrick Summers thorough understanding of these roots that accounted for the unusual radiance of the staging, seen on opening night of the five-performance Houston run.
This was an Ariadne of cultivated gentleness, in which reserve dominated and in the opera accounted for the seamlessness with which tragedy and comedy blended with such ease. Keeping Strauss’ sometimes runaway sensuality in check, Summers concentrated rather on the intimacy of the opera, drawing the audience into a story that in its intricacy identifies von Hofmannsthal as perhaps the greatest librettist in the history of opera. Conductor Summers, HGO music director, is now an established figure in the world’s opera houses, and here he showed again the polish and sophistication that he has brought to the company’s orchestra.
The central figure in the Prologue is the youthful Composer, a trouser role patterned after the Octavian of Rosenkavalier. In this country Susan Graham continues to hold the copyright on these roles. A dashing and exuberant figure, she played the art-and love-smitten composer with fervor and conviction and without exaggerated mannerisms. She clearly remains at the height of her vocal powers.
Christine Goerke, famous for her interpretation of such dark roles as Wagner’s Ortrud and Kundy and Verdi’s Eboli, brought richness to death-obsessed Ariadne in a performance made luminous by Summer’s disciplined approach to the score. The conductor deserves further praise for the transparency with which the nymphs who watch over Ariadne as the opera opens sang.
Over the past decade Texas-born Laura Claycomb has distinguished herself in works from Handel to Mahler and Britten. Without slighting the playful side of the role, she stressed that Zerbinetta — despite appearances — is looking for the one man to whom she might be true.
Bacchus, an unrewarding assignment, would be a supporting role, were he not needed to engineer the transcendence with which the opera ends. Sometimes a role for ageing Wagnerians — James King comes to mind, Alexey Dolgov is perhaps too young to play Bacchus. (The Siberian-born tenor made his HGO debut as Puccini’s Rodolfo in 2008.)
John Fanning as Music Teacher and Susan Graham as Composer
It is, however, the role itself that is problematic. Bacchus, at best a bit of a bumpkin, stumbles onto Naxos on the heels of heroic exploits, and — until he falls hopelessly in love with the abandoned Ariadne — doesn’t really understand what is going on there. Neither does Ariadne, who sees him as the envoy of Death. Thus the two sing at cross purposes at the outset of the duet that ends the opera. Nonetheless, one felt that Dolgov had been miscast — the single blemish on the otherwise enviously engaging performance. Of course, one knows Strauss’ antipathy for tenors, and Dolgov’s shortfall underscored that this — like Rosenkavalier — is a womens’ opera.
One left the Wortham with heart warmed by Goerke’s deeply internalized delivery of Ein Scho”nes war and “Es gibt ein Reich” and awed by the effortlessness with which Claycomb proved herself an ideal Zerbinetta.
Boris Zyakov as Harlequin-and Laura Claycomb as Zerbinetta
Six of the seven youthful singers cast as nymphs and commedia dell’arte clowns were current HGO studio artists, underscoring the high professional standards of that program.
All in all an Ariadne to treasure, the production not only concluded the present HGO season, but further brought down the curtain on Anthony Freud’s all too brief tenure of the company’s general director. (Freud arrived in 2006.) Freud succeeds William Mason at the helm of Chicago Lyric Opera.